Kicked in Spain, "Orphans" and "The Adopted Son" Find Home in Gijon

About seventeen years ago a lot of Spanish couples must have given birthto a lot of film-freak babies because attending the 36th GijonInternational Film Festival in Gijon, Spain which opened on November20th, was to witness a huge throbbing horde of film hungry youngSpaniards stampeding the streets and mobbing the box office.Whatever they are doing in Spain, they’re doing it right! These peoplelove movies.

Being a judge at this raucous 7-day event was one non-stop Asturianparty. Programmed by the stage shy but charismatic, bespectacled33-year-old Jose Luis Cienfuegos and his 26-year-old co-programmer FranGayo, the Gijon festival screens some 120 odd features and shorts. Gijonis situated on the north coast of Spain in a region known as Asturias.The city of Gijon is a picturesque seaside city of about 250,000 withlarge surf (and Spanish surfers). Gijon seems to be happily undiscoveredby the tourist industry, both European and American. In fact, tourguides foolishly suggest avoiding it. This couldn’t be more wrong.

The town is warm and relaxing. The festival provides filmmakers with awad of funny money and a list of selected restaurants honoring thescrip. As prices in Gijon are considerably lower than Madrid, the toymoney makes for a healthy eating experience. Cafe Dindurra, a large artDeco cafe situated beside the main theater Jovellanos, serves as theunofficial daily gathering place (although it’s cash only).

Cienfuegos, who took over control of the festival four years ago,travels to Cannes, Berlin and some smaller festivals in search of films.He observed that Gijon competes roughly on a par with Turin andStockholm, both endowed with higher budgets. Ticket sales this year wereapprox. 50,000, about 10,000 more than last year. Cienfuegos’ ambitiousplans seem to have the enthusiastic support of a prosperous and proudcity. Boasting excellent regional press support (fond of calling thefestival the “Spanish Sundance”), national Spanish press is nowbeginning to wake up to the Gijon festival. Gijon’s sponsorship is good;a budget modest but growing. The level of professionalism among thefestival staff is excellent, the facilities and screens good. Corporatesponsors looking for a hot young festival to partner with should jumpright on Gijon.

To “set this festival apart from others” Cienfuegos plans to “build themost risky festival in Spain.” His statement of purpose includes thewords “non-conforming,” “confrontation,” and “rebellion.” Although athread of dark themes and powerful emotions runs through theprogramming, Cienfuegos noted that a comedy won the Young Jury prizelast year.

When I pointed out a conspicuous absence of the word “independent” inthe catalog, Cienfuegos responded by saying they are finding “the wordis going soft. We are moving away from independent.” Whatever theirtheory, their mix seems to be a big hit with the crowds of young Spanishticket buyers who showed up every day.

There were twelve features and twelve shorts in competition. “Pecker“opened the festival and “Waking Ned Devine” closed it. A specialscreening of “Hang the DJ” directed by Mauro and Marco Lavilla tookplace on the second night. Three beautifully researched retrospectiveshonored Karel Reisz, Paul Morrissey and the animator Phil Mulloy. Eightspecial sections sported names such as Radical, Enfant Terrible, NewGerman Cinema and False Documentary. The nightly parties werecomplemented by six concerts, one being mobbed when the hot Spanish bandThe Manta Rays appeared. Also for the first time this year, a MediaConference ran in concurrence with the festival, attended by some 80students and industry pros. The Conference was a success and will berepeated next year.

For independent filmmakers Gijon is a welcome break from the heatedcompetition of larger festivals and a more personal celebration of theirwork. The festival keeps the focus on the filmmakers, going out of theirway to find original new artists (and feeding them well). Gijon is smallenough to allow filmmakers, students, writers and others of the Europeanfilm community opportunity to mingle and discuss film in a relaxedsetting.

Gijon does not pretend to be a deal making festival. As a regionalinternational festival no business of consequence is done here; makeyour sales before coming to Gijon. Nevertheless, I was surprised to seeexcellent films with commercial potential that had no deal in Spain,such as Paul Tykell’s “Crush Proof.” Clever sales agents could pick upsome gems. Also, Gijon could serve as a good pre-launch festival for afilm’s release in Spain. Postering is modest to nonexistent in Gijon —a filmmaker willing to poster the town could pack the theater.

The competition jury was made up of five individuals; British composerBarry Adamson, myself (the only American and the only director), Spanishthespians Fele Martinez and Elvira Minguez, and Kirsi Tykklainendirector of the Finland’s International Cinema Foundation and an actressin several of Aki Kaurismaki’s films. In addition, a Young Jury wasmade up of 50 local youths, many of them university students, awards twoprizes; one for a feature, one for a short. These kids tackled their jobwith enthusiasm and dedication.

Best Actor: Gary Lewis for “Orphans“Although I personally felt differently, the jury as a group decided notto give a Best Actress Award, with the stated reason that “althoughexcellent actresses were represented, the jury noted a conspicuous lackof good roles for women.”

A personal highlight for me was sitting with Paul Morrissey viewing hisexcellent feature “Spike of Bensonhurst.” My personal hands downfavorite was “The Adopted Son” directed by Aktan Abdykalykov fromKirgizstan. If there is a chance to see this film stateside, grab it.

[Matthew Harrison is a writer/director whose credits include “Kicked inthe Head,” “Rhythm Thief” and “Spare Me.” He is currently completing hisnew feature film “My Little Hollywood.”]